Agrie.  Landscape-  -Besign 


AMERICAN 
GAR    D    E    N 


AMERICAN 

GARDENS 


Clntrti 


GUY    LOWELL 


OF  THE 

UNIVERSITY 

OF 


BOSTON 

©ttillr  Compang 


M  C  M  I  I 


Copyright,     1901,     by 
BATES  fcf  GUILD  COMPANY 

(      \     ^ 


GENERAL 


PHOTO-ENGRAVINGS  BY  FOLSOM 
ftf  SUNERGREN,  BOSTON.  PRINTED  AT 
THE  UNIVERSITY  PRESS,  CAMBRIDGE 


NO  T  E 

(.1  ^HE  Publishers  wish  to  express  their  thanks  to 
-I  the  owners  who  have  so  courteously  allowed 
their  gardens  to  be  photographed  for  this  book,  and 
to  the  architects  who  have  aided  in  its  preparation. 
'The  views  in  this  volume  are  not  to  be  repro- 
duced except  by  special  permission. 


101833 


OF  THE 

UNIVERSITY 

OF 


INTRODUCTION 

fHE  pleasures  of  gardening  and  the  enjoyment  of  the  beauties  of 
nature  have  been  favorite  subjects  with  the  writers  of  all  ages,  so 
that  fortunately  we  have  their  descriptions  by  which  to  trace  the 
history  of  the  art  of  gardening  ;  for  nature,  whether  uncon- 
trolled, or  whether  composed  and  arranged  by  man,  carries 
within  it  the  elements  of  constant  change.  But  although 
gardens  themselves  are  not  permanent,  may  be  changed,  and  must,  in  time,  fall  into 
ruin,  each  new  designer  leaves  behind  him  some  result  as  a  legacy  to  those  who 
follow  ;  and  because  of  this  constant  evolution  it  is  interesting  to  trace  the  in- 
fluences that  have  affected  the  art  of  garden  design  in  America. 

The  gardens  of  America  necessarily  differ  from  those  of  other  countries, 
owing  to  a  different  climate,  and  to  different  manners  and  customs  from  those 
which  prevailed  when  the  most  famous  typical  gardens  of  the  Old  World  were 
laid  out.  Indeed  the  distinctive  charm  of  our  native  gardens  is  due  to  the  very 
fact  that  they  are  adapted  to  our  needs  and  our  surroundings.  We  have  given 
them  an  American  character,  and  yet  have  preserved  many  of  the  elements  and 
followed  many  of  the  principles  that  have  been  developed  in  other  lands  by 
centuries  of  garden  building. 

In  following  the  history  and  tracing  the  origin  of  these  principles  and 
elements  we  must  consider  the  garden  as  a  work  created  by  man.  Much  of 
its  charm  will  always  be  due  to  the  accidental  and  the  unexpected,  but  nature 
must  be  influenced  or  controlled,  otherwise,  though  the  effect  may  be  artistic, 
the  result  is  not  a  work  of  art.  When  man  first  attempted  to  control  natural 
scenery,  to  combine  flowers,  trees,  and  cultivated  fields  so  as  to  produce  an 
aesthetic  effect,  and  when  he  rearranged  existing  natural  forms  with  a  desire  to 
create  new  beauties,  then  gardening  became  an  art.  Till  that  time  the  gardener 
had  not  necessarily  practised  the  art  of  gardening  ;  that  is  to  say,  his  labors 
were  utilitarian;  and  it  is  not  utilitarian  gardening,  except  in  so  far  as  it  may  be 
combined  with  the  decorative,  that  we  have  to  consider,  but  that  which  tends 
to  beautify  our  surroundings  and  supplements  man's  handiwork  by  adorning  it 
with  the  beauties  of  nature. 

Who  the  first  gardener  was  we  do  not  know,  but  we  can  trace  the  art 
down  through  the  history  of  civilization,  and  follow  its  development  as  surely 
as  that  of  the  art  of  building.  The  line  of  descent,  if  long,  is  direct,  the  transi- 
tion from  cause  to  effect  is  easy  to  follow,  and  the  influences  of  manners,  customs, 


and  climatic  conditions  are  strong  and  easily  determined.  Only  a  few  exam- 
ples are  needed  to  show  how  the  art  of  gardening  has  steadily  progressed  in  one 
direction  for  centuries,  and  we  shall  see  at  the  same  time  how  styles  have  been 
influenced  by  the  necessities  of  life  and  by  surroundings. 

It  must,  however,  be  remembered  that  almost  no  trace  is  left  of  the  famous 
gardens  of  antiquity.  We  know  where  many  of  them  were  situated,  we  know 
the  dimensions  and  some  of  the  details  of  others,  but  to  gain  an  idea  of  their 
effect  we  must  always  draw  largely  on  our  imaginations.  Contemporaneous  litera- 
ture aids  us  a  little ;  a  knowledge  of  the  flora  of  the  country  helps  us  to  finish 
off  the  picture ;  but  the  whole  must  in  the  end  be,  necessarily,  a  fabric  of  the 
imagination. 

The  formal  garden  had  its  beginning  many  centuries  ago.  Owing  to  the 
admirable  pictorial  descriptions  of  the  ancient  Egyptians,  we  have  a  fairly  accu- 
rate idea  of  their  gardens  six  thousand  years  back.  Maspero,  in  his  "  Dawn  of 
Civilization,"  tells  about  a  garden  a  description  of  which  is  carved  on  the  tomb 
of  Amten,  an  important  Egyptian  nobleman  who  lived  four  thousand  years 
before  Christ.  "  He  built,"  says  Maspero,  "  upon  the  remainder  of  the  land 
a  magnificent  villa,  of  which  he  has  considerately  left  us  the  description.  The 
boundary  wall  formed  a  square  350  feet  on  each  face,  and  consequently  con- 
tained a  superficial  area  of  122,500  square  feet.  A  well-built  dwelling-house, 
furnished  with  all  the  necessaries  of  life,  was  surrounded  by  ornamental  and  fruit- 
bearing  trees, — the  common  palm,  the  nebek,  fig  trees,  and  acacias, — several  ponds, 
neatly  bordered  with  greenery,  afforded  a  habitat  for  aquatic  birds  ;  trellised  vines, 
according  to  custom,  ran  in  front  of  the  house,  and  two  plots  of  ground  planted 
with  vines  in  full  bearing  supplied  the  owner  with  wine  every  year." 

An  interesting  drawing,  found  in  a  Theban  tomb  some  forty  centuries  old, 
shows,  in  a  curiously  combined  plan,  elevation,  and  section,  a  garden  almost  exactly 
like  that  described  above.  We  can  see  not  only  all  the  parts  mentioned  in  the 
earlier  account,  but  can  recognize  certain  trees  and  plants,  see  the  birds  swim- 
ming on  the  ponds,  and  the  vines  climbing  on  the  trellises.  The  whole  was 
laid  out  with  paths  and  terraces,  so  as  to  afford  shade  from  the  hot  sun  and 
shelter  from  the  burning  winds;  and  is  an  interesting  example  of  the  utilitarian 
and  the  decorative  garden  combined. 

The  fame  of  such  gardens  as  these,  together  with  other  forms  of  Egyptian 
art,  traveled  to  the  neighboring  Eastern  countries.  Not  only  did  the  conquerors 
often  adopt  the  artistic  traditions  of  a  vanquished  nation,  but  commerce,  too, 
assisted  in  spreading  art.  The  Assyrians,  the  Persians,  the  Phoenicians,  and  the 


Greeks  had  their  gardens  also,  the  building  of  which  increased  with  the  growth 
of  luxury  and  diminished  with  the  advent  of  war. 

The  Greeks,  however,  were  never  great  gardeners.  Though  they  had  a 
thorough  appreciation  of  the  charm  of  nature,  when  they  undertook  to  bring 
order  into  their  landscapes  it  was  always  in  a  formal  way ;  and  all  their  designs 
showed  the  predominance  of  the  straight  line  or  geometrical  curve. 

On  the  other  hand,  the  Romans,  whose  art  was  derived  from  Greece,  paid 
great  attention  to  their  gardens,  but,  like  the  Greeks,  they  kept  all  their  lines 
geometrical.  These  Roman  gardens,  in  distinction  from  the  Greek  and  Egyptian, 
were  often  wholly  decorative,  with  the  agricultural  and  economic  features  left 
out,  but  with  the  addition  of  sculpture,  of  clipped  hedges  and  trees,  together  with 
greater  variety  of  design.  The  ellipse  and  the  circle  were  used  in  planning,  and 
the  differences  in  level  of  the  Roman  hillsides  required  the  frequent  use  of  terraces, 
which  in  turn  necessitated  balustrades  and  steps.  The  fashion  of  trirrfming  trees  to 
make  them  even  more  symmetrical  than  nature  had  made  them,  or  to  make  them 
look  like  birds  and  other  animals,  had  already  come  in;  and  gradually,  as  under  the 
Empire  life  grew  more  luxurious,  Roman  gardens  became  more  artificial,  larger, 
and  more  elaborate,  while  natural  elements  disappeared  and  their  place  was  taken 
by  sculpture  and  architecture.  Pliny,  in  his  letters,  describes  two  of  his  villas, 
and  many  attempts  have  been  made  to  reproduce  the  surrounding  grounds  by 
means  of  his  descriptions.  With  the  fall  of  Rome,  the  art  of  gardening  slum- 
bered, along  with  all  other  arts,  throughout  the  Dark  Ages. 

It  is  an  interesting  fact  that  these  classic  gardens  which  we  have  been  con- 
sidering—  and,  indeed,  nearly  all  the  gardens  of  which  we  have  any  record  that 
were  built  before  the  middle  of  the  eighteenth  century  —  were  "formal,"  with 
their  boundaries  and  principal  features  laid  out  along  straight  lines.  The  "natu- 
ral" style  in  gardening,  which  came  in  later,  leaves  nature  much  as  it  is,  or  else 
attempts  to  reproduce  nature  as  it  exists  in  some  other  spot.  The  principle  is, 
that,  if  possible,  no  sign  of  the  work  of  man  should  appear,  or  that  if  it  does  of 
necessity  appear  it  should  obtrude  itself  as  little  as  possible.  Therein  lies  the  radi- 
cal difference  between  formal  and  natural  gardening.  In  a  natural  scene  the  road 
or  path  is  hidden  or  planted  out,  whereas  in  the  formal  garden  paths  are  an 
important  element  in  the  design,  and  by  their  contrast  with  the  vegetation  form 
part  of  the  decorative  composition.  Each  style  has  had  its  advocates. 

It  was  at  the  time  of  the  Italian  Renaissance,  that  the  gardens  which  have 
most  influenced  our  modern  designs  were  first  built.  During  the  Middle  Ages  the 
European  nations  were  too  busy  making  war,  or  were  too  poor  to  be  able  to  afford 


the  luxury  of  garden  building.  A  few  orchards  and  a  few  patches  of  herbs  or 
vegetables  were  cultivated  by  monks,  but  nothing  was  contributed  to  the  art  of 
garden  design  until  the  beginning  of  the  Renaissance,  when  the  Italians  began  to 
study  the  classics  and  the  classic  form  of  art.  Lorenzo  de  Medici,  as  patron  of  all 
the  arts  in  Florence,  first  gave  the  impetus  to  the  revival  of  the  classic  style.  He 
made  his  garden  a  museum  of  sculpture  and  decoration,  so  that  gradually  the 
grounds  became  a  decorative  adjunct  to  the  house;  and  the  great  artists  of  his 
time,  such  as  Michelangelo,  Giulio  Romano,  and  Raphael,  were  not  satisfied  with 
designing  palaces  and  decorating  them  with  frescos  and  carving,  but  must  needs 
design  the  gardens  too.  In  the  beginning  the  gardens  they  created  were  like  those 
of  classic  Rome,  but  gradually  the  greater  freedom  of  the  Renaissance  manifested 
itself,  and  the  villa  gardens  of  Rome  and  Northern  Italy  which  we  know  to-day 
were  the  result. 

In  common  with  all  other  great  periods  of  artistic  activity,  the  Italian  Renais- 
sance reached  a  climax,  followed  by  a  swift  degeneration  during  which  exaggera- 
tion became  the  keynote  of  all  designing.  In  the  gardens  trees  were  no  longer 
allowed  to  grow  in  their  natural  forms,  and,  as  had  been  the  case  in  the  latter 
period  of  Roman  art  when  artistic  ideals  had  degenerated,  the  architecture  became 
more  important  than  the  vegetation.  But  fortunately,  long  before  the  baroque 
period,  the  art  of  garden  building,  together  with  the  other  arts,  had  crossed  the 
Alps  to  take  a  new  start,  under  new  conditions  and  amid  different  surroundings, 
in  France. 

One  important  feature  of  the  Italian  gardens  had  been  the  terraces,  steps, 
and  ramps,  which  were  necessary  in  Italy  because  of  the  hills  on  which  the  villas 
were  generally  built;  another  had  been  the  ease  with  which  water  could  be 
introduced  as  an  important  feature.  In  France  the  natural  conditions  were  no 
longer  the  same,  and  the  gardens  in  consequence  were  different.  The  land  was 
more  commonly  level,  and  it  became  necessary  to  sink  the  parterres  in  order  to 
get  an  effect  of  relief  and  to  have  an  excuse  for  terracing,  nor  could  the  architects, 
for  the  same  reason,  use  cascades  and  grottoes  in  their  designs  as  easily  as  foun- 
tains and  basins.  Many  of  the  important  estates  bordered  on  forests,  and  a  forest 
background  demanded  different  treatment  from  that  required  when  the  Roman 
Campagna  formed  the  setting.  The  trees  and  flowers,  as  well  as  the  building 
materials  and  incidental  architecture,  too,  were  different,  so  that  the  French  soon 
developed  a  distinct  style  in  garden  design. 

It  was  Andre  le  Notre,  the  designer  of  the  park  at  Versailles  and  the  favorite 
landscape  gardener  of  Louis  XIV.,  who,  more  than  any  other,  was  the  cause  of  the 


development  of  a  new  style.  The  earlier  plans  had  been,  in  general,  attempts  at 
direct  copies  of  Italian  examples.  But  the  festivities  and  ceremonies  of  the  court 
of  Louis  XIV.  required  a  magnificence  and  grandeur  in  the  laying  out  of  grounds 
that  had  not  been  equaled  in  Italy,  and  breadth  and  magnificence  became  the  lead- 
ing characteristics  of  Le  Notre's  work.  He  tried,  wherever  possible,  to  tie  his 
garden  to  the  surrounding  landscape,  and  to  give  the  impression  that  the  forces  of 
nature  had  been  marshaled  and  arrayed  with  ruler  and  compass  rather  than  that 
trees  and  flowers,  sunshine  and  shade,  were  elements  with  which  to  design.  His 
work  may  be  classed  as  half-way  between  the  extremely  formal  and  the  landscape 
garden. 

It  was  natural  that  wherever  the  fashions  of  the  French  Court  went,  there 
Le  Notre  should  be  called  to  lay  out  gardens.  Consequently  the  French  style 
spread  to  England,  to  Germany,  and  to  the  Netherlands,  only  to  become  every- 
where modified  or  altered  to  suit  local  conditions.  New  motives  of  all  kinds 
were  invented,  and  formality,  pushed  to  the  extreme  limits  of  artificiality,  became 
the  fashion. 

It  was  not  many  years  before  a  reaction  naturally  set  in.  Addison  and  Pope 
in  their  writings  had  already  sounded  the  warning  note,  and  the  plea  for  a  more 
natural  treatment  was  made.  But  as  the  advocates  of  the  natural  method  in 
England  gathered  force,  a  bitter  discussion  arose  concerning  the  respective  merits 
of  the  two  styles.  Many  of  the  really  fine  old  formal  gardens  were  destroyed, 
and  much  was  done  in  the  name  of  naturalness  that  was  highly  artificial.  But 
the  new  school  of  "  landscape  gardeners  "  nourished,  and  has  produced  many  of 
the  finest  places  in  England  ;  while  the  discussion  of  the  respective  merits  of  the 
two  styles  has  continued  to  the  present  day. 

In  this  country,  the  earlier  or  Colonial  gardens  were,  like  the  Colonial  archi- 
tecture, inspired  by  contemporaneous  European  examples,  although  the  scale  was 
smaller,  and  the  results,  modified  by  the  social  requirements  of  the  people,  were 
simpler.  We  know  a  good  deal  about  the  flowers  grown,  and  some  of  the  seeds- 
men's catalogues  of  the  early  days  of  the  nineteenth  century  show  what  a  great 
variety  was  cultivated.  We  cultivate  the  same  ones  to-day,  only  in  more  beautiful 
and  more  numerous  varieties.  The  charm  of  some  of  these  old  gardens  which 
our  grandmothers  loved  to  tend  can  be  seen  in  the  now  overgrown  gardens 
of  New  England  and  the  South,  shown  in  the  following  pages.  Perhaps  the 
most  charming  quality  of  such  old  gardens  is  their  power  to  call  up  reminiscences 
and  pictures  of  other  days. 

The   landscape   of  America   is,    however,   so   especially  well    adapted   to   the 


natural  style  of  treatment,  that  for  many  years  the  formal  garden  was  forgotten, 
though  many  beautiful  country  places  and  parks  were  laid  out.  In  consequence 
there  are  in  America  many  superb  old  places  that,  having  had  the  benefit  of  good 
designing  to  begin  with,  have  to-day  a  finished  appearance,  owing  to  fine  trees 
and  perfected  details. 

In  recent  years  there  has  been  a  revival  of  interest  in  the  formal  garden  in 
this  country.  Foreign  travel  may  in  part  account  for  this,  but  still  more  impor- 
tant factors  are  the  interest  that  has  sprung  up  in  all  that  relates  to  outdoor  life, 
and  the  increased  desire  to  improve  the  outdoor  part  of  the  house.  As  a  conse- 
quence formal  gardens  have  been  created  side  by  side  with  the  natural,  and  the 
discussion  of  the  relative  merits  of  the  two  styles  has  been  revived  on  this  side 
of  the  Atlantic. 

It  is  a  mistake  to  go  so  far  as  to  say  that  but  one  type  of  garden,  either  the 
formal  or  the  natural,  can  be  correct,  satisfactory,  or  beautiful.  The  arguments  of 
the  advocates  of  either  kind  for  their  own  favorite  style,  and  their  contempt  for  the 
claims  of  their  opponents,  seem  often  like  an  attempt  to  bring  the  principles  of 
art  under  the  rulings  of  a  well  defined  code.  The  contention  of  the  formalist, 
that  man  cannot  imitate  nature  and  therefore  should  not  inspire  himself  from 
nature,  but  should  have  all  his  gardens  balanced,  formal,  and  symmetrical,  is  as 
unjust  as  is  the  dictum  of  the  landscape  gardener  that  nature  abhors  a  straight  line, 
and  that,  therefore,  straight  lines  should  be  avoided  or  broken.  We  are  given  cer- 
tain elements  with  which  to  deal,  certain  materials  to  handle,  and  there  should 
be  no  law  to  ordain  that  either  every  line  must  be  straight  and  formal  or  else  that 
every  form  should  be  broken  or  at  least  unsymmetrical.  It  is  wholly  a  question 
of  appropriateness  and  of  personal  and  individual  art.  Which  is  the  more  beauti- 
ful, a  Greek  temple  standing  out  white  and  calm  against  the  deep  blue  of  the 
Mediterranean  sky,  or  a  lofty  French  cathedral  with  its  rich  detail  and  wonderful 
fabric  of  flying  buttresses  silhouetted  against  the  cooler  and  grayer  skies  of  the 
North  of  France?  Each  represents  a  style  perfect  in  itself,  yet  totally  different. 
There  is  no  need  of  condemning  one  in  favor  of  the  other;  each  is  appropriate  in 
its  place.  It  is  the  appropriate  adaptation  of  the  established  European  principles 
of  gardening  to  American  surroundings  that  will  perfect  an  American  style. 

One  of  these  principles,  as  we  saw  in  the  case  of  the  gardens  of  the  Renais- 
sance, was  to  continue  the  lines  of  the  house  out  into  the  grounds,  and  thus  to 
make  the  garden,  as  it  were,  an  outdoor  room,  bounded  by  hedge  and  wall  in  such 
a  way  as  to  make  its  proportions  pleasing,  and  decorated  not  only  with  trees, 
shrubs,  and  flowers,  but  with  fountains,  statues,  and  vases,  which  offer  a  pleasing 


contrast  to  the  vegetation.  A  principle  like  this  is  easily  transplanted  to  this 
country,  for  it  is  so  easy  to  cross  the  Atlantic  nowadays  that  the  influence  of  for- 
eign art  can  be  seen  at  every  turn.  Our  architecture  has  heretofore  been  a  copy 
of  some  European  style ;  our  painters,  sculptors,  and  musicians  study  abroad.  But 
as  a  nation  we  have  strong  individuality,  and  differences  in  requirements  and  in 
local  characteristics  have  modified  the  ideas  on  garden  design  which  we  have 
imported  from  Europe.  It  is  interesting  to  analyze  how  this  assimilation  of 
ideas  has  taken  place. 

An  American  traveling  abroad  is  sure,  after  seeing  the  formal  gardens  of 
Rome  and  of  Northern  Italy,  to  wish  to  reproduce  them  in  some  form  in  his  own 
country.  He  does  not  always  remember  that  climatic  conditions  are  not  the 
same,  and  that  unless  entirely  different  materials  are  used  and  different  trees  and 
flowers  planted  the  result  will  be  a  failure.  American  winters  are  too  severe,  at 
least  in  our  Northern  States,  to  allow  fheiree"^nsfcof  ^marbles ;  delicate  carving 
and  soft  stones  have  either  to  be  protected  in  winter  or  must  be  left  out  of  the 
design.  Moreover,  different  flowers,  trees,  and  hedges  have  to  be  used  in  attempt- 
ing to  produce  effects  similar  to  those  in  Italy,  for  it  is  impossible  to  grow  here 
many  of  the  broad-leaved  evergreens  which  give  so  much  character  to  the  villa 
gardens  of  Rome.  The  lines  and  masses  may  be  similar,  the  principles  of  design 
may  be  the  same,  but  the  effect  in  detail  is  different,  for  different  elements  must 
be  used,  or  must  needs  be  changed  to  meet  new  conditions.  When  Italian  artists 
came  to  France  at  the  time  of  the  French  Renaissance  they,  in  the  same  way,  had 
to  adapt  their  work  to  the  conditions  of  climate,  -  -  though  it  does  not  follow  that 
because  the  French  and  the  American  formal  gardens  are  the  development  of  the 
Italian  style  in  a  northern  climate,  they  are  or  can  be  similar. 

The  magnificence  and  grandeur  of  the  French  parks  are  sure  to  interest  all 
students  of  the  art  of  gardening,  and  several  places  in  this  country  have  been  laid 
out  in  imitation  of  the  French  style.  But  we  have  already  seen  that  the  gardens 
of  Le  Notre  belonged  to  a  period  of  highly  elaborate  court  life,  and  were  inspired 
by  the  fetes  and  ceremonies  of  the  Grand  Monarque.  That  style  of  life  has 
died  out  in  France,  and  never  existed  in  this  country,  so  that  any  attempt  to 
imitate  the  gardens  of  Versailles  or  Saint  Cloud  would  be  due  to  a  desire  to  copy, 
rather  than  to  any  real  social  or  artistic  need  for  such  a  garden.  Even  did  the 
desire  to  copy  exist,  no  one  who  appreciates  and  enjoys  the  charm  of  our  Amer- 
ican scenery  should  ever  attempt  to  lay  out  his  grounds  like  the  park  at  Versailles 
unless  there  were  enough  acres  of  natural  scenery  beyond  to  make  one  feel  the 
dominant  note  of  the  American  landscape. 


The  English  had  their  big  ceremonial  gardens,  too,  but  when  the  social 
life  in  England  became  simpler  they  still  kept  up  their  gardening,  modifying  the 
details  to  suit  circumstances  and  space.  It  is  from  England  that  we  get  our  best 
examples,  for  the  conditions  there,  social  and  climatic,  are  more  like  those  in  this 
country.  But  even  when  we  draw  inspirations  from  England  we  must  modify 
the  planting,  for  our  summer  season  is  shorter,  and  many  of  the  most  useful  trees 
and  shrubs  used  in  England  are  not  hardy  throughout  this  country. 

We  may  borrow,  then,  details  and  ideas  from  Italy,  France,  and  England,  but 
we  must  adapt  them  skilfully  to  our  own  needs,  and  give  them  the  setting  which 
they  require.  Our  gardens  need  not,  when  adapted  to  this  country,  follow  any 
recognized  style.  In  the  first  place  we  are  not  yet  hampered  by  national  traditions 
and  may  take  only  as  much  of  any  one  style  as  happens  to  please  us;  secondly, 
American  vegetation  is  very  different  from  that  of  other  countries.  In  spite  of  the 
fact  that  the  same  flowers  sometimes  grow  in  the  American  garden  as  in  those 
abroad,  they  seem  to  grow  differently,  —  less  formally,  perhaps,  —  and  we,  as  a 
nation,  prefer  a  freedom  which  to  the  English  or  the  French  gardener  would 
almost  seem  like  untidiness. 

Unfortunately  it  has  been  impossible  to  show  in  this  book  some  of  the 
many  charming  "naturally"  planned  country  places  in  America,  because  their 
beauty  is  mainly  due  to  situation  and  to  attractive  views  or  else  to  the  successful 
creation  of  a  naturalistic  landscape.  Such  scenes  are  not  only  impossible  to  illus- 
trate adequately  by  photographs,  but,  moreover,  though  they  present  examples 
of  beautiful  scenery,  they  are  of  no  value  as  examples  of  garden  design.  In  such 
places  the  garden  is  simply  a  part  in  the  whole,  although  a  part  capable  of  being 
complete  in  itself.  It  has,  furthermore,  been  impossible,  for  the  same  reason,  to 
show  some  of  the  American  gardens  where  the  flowers  serve  only  as  a  border  in 
the  natural  landscape.  In  such  places,  also,  the  garden  is  simply  a  part  in  the 
whole,  and  is  in  fact  a  detail  that  must  follow  the  same  artistic  principles  as  the 
more  formal  garden. 

These  artistic  principles  are  many  of  them  self-evident,  but  are  none  the  less 
interesting  to  trace  in  their  relation  to  the  whole  problem  of  garden  design. 
We  shall  see  how  they  have  been  observed  in  the  gardens  and  their  details  shown 
in  the  following  pages. 

The  garden  in  this  and  other  countries  is  composed  of  flower  beds  with 
paths  or  grass  plots,  often  combined  with  such  architectural  accessories  as  garden 
and  terrace  walls,  summer-houses,  balustrades,  pergolas,  vases,  statues,  fountains,  and 
gates.  Before  determining  how  to  compose  these  different  elements,  however, 


the  garden-maker  must  decide  where  to  compose  them,  —  in  other  words,  he 
must  first  select  the  best  situation  for  his  garden  ;  and  this  is  oftentimes  no 
easy  matter. 

If  the  garden  is  to  be  formal,  with  straight  lines  or  geometrical  curves,  its 
formality  must  of  necessity  find  some  excuse  in  its  surroundings,  -  -  a  straight  road, 
a  terrace,  a  wall,  or,  what  is  yet  simpler,  the  straight  lines  of  a  house.  Often 
when  it  would  be  otherwise  difficult  to  make  the  house  harmonize  with  the  sur- 
rounding landscape,  the  garden,  by  prolonging  the  formal  lines,  softening  them 
with  vegetation,  and  tying  them  in  with  the  landscape  beyond,  perfectly  accom- 
plishes the  desired  result.  When  there  is  no  formal  framework,  no  formal  lines 
are  necessary.  One  of  the  most  charming  gardens  in  America  (though  unfor- 
tunately not  represented  in  this  book  because  it  is  of  that  type  which,  being 
largely  dependent  upon  color,  loses  almost  all  its  charm  in  a  photograph)  is  at  Bar 
Harbor,  Maine.  With  woods  for  a  background  and  merely  an  irregular  lawn  for 
a  path,  it  is  more  charming  than  any  walled  or  formal  garden  that  could  have 
been  put  there;  but  only  an  artist  could  have  made  it,  and  it  requires  the  con- 
stant care  of  an  artist  to  keep  it  up  year  by  year,  for  none  of  its  elements  is  per- 
manent, and  lines  and  grouping  must  annually  be  laid  out  anew.  A  garden  of 
this  kind,  forming  as  it  does  a  foreground  to  the  natural  scenery  beyond,  need 
not  necessarily  be  in  close  proximity  to  the  house ;  in  fact,  to  attempt  to  make 
a  garden  serve  as  a  foreground  to  the  main  vista  from  the  house  is  often  a  mis- 
take, for  the  bright  colors  of  the  flowers  may  kill  the  more  delicate  tones  of  a 
distant  scene,  whereas  these  same  rich  colors  might  give  decided  interest  to  a 
less  important  view. 

The  situation  of  the  garden  once  selected,  —  when  it  seems  to  have  been 
placed  where  it  will  add  to  the  attractiveness  of  the  house  or  grounds,  and  where 
conditions  of  soil  seem  to  be  satisfactory,  or  are  capable  of  being  made  so  by 
enriching  or  draining,  when  questions  of  sunlight  for  the  flowers  and  shelter  from 
the  winds  have  been  settled,  —  then  the  problems  of  size  and  proportions  may 
be  considered.  It  would  naturally  be  folly  to  make  a  garden  so  large  that  its 
maintenance  and  care  will  become  a  perennial  burden,  —  in  itself  a  sufficient 
practical  reason  for  planning  the  garden  and  the  house  in  proportion  to  each 
other,  so  that  the  garden  shall  become,  as  it  were,  an  outdoor  room  to  the  house, 
larger  than  any  inside  because  it  should  give  the  sense  of  freedom  and  of  sun- 
light and  air,  but  still  small  in  the  case  of  a  small  house,  and  proportionately 
large  in  the  case  of  a  large  one. 

The  direction  of  the  garden  with  reference  to  the  house  is  also  important. 


The  view  as  seen  from  the  house  should,  generally  speaking,  follow  the  direction 
of  the  garden ;  that  is  to  say,  should  be  parallel  to  the  long  axis  rather  than  at 
right  angles  to  it.  The  full  effect  of  the  garden  in  perspective  is  thus  obtained, 
and  the  whole,  composed  as  a  whole,  will  form  one  picture,  while  the  charm 
of  detail  is  discovered  later. 

An  examination  of  the  sketch  plans  at  the  end  of  this  book  will  show  that 
the  shapes  and  relative  proportions  of  the  various  parts  may  be  many.  Often  these 
shapes  and  proportions  are  controlled  by  some  predetermined  factor  ;  often  they 
are  merely  the  result  of  study.  In  the  more  simple  gardens,  —  and  the  simpler 


m&T 


PLAN    OF    A    GARDEN    AT    ST.   JAMES,   LONG    ISLAND,   N.Y. 


STANFORD    WHITE,    ESQ.,   ARCHITECT 


they  are  the  better  they  are  apt  to  be,  —  the  form  is  usually  rectangular,  some- 
times ending  in  a  half  circle  or  ellipse.  A  good  typical  plan  is  that  of  the  garden 
at  St.  James,  Long  Island,  N.  Y.,  shown  on  this  page.  (Compare  Plates  xn., 
xiii.,  and  xiv.)  Here,  as  in  many  other  good  examples,  there  are  central  paths 
and  two  sets  of  lateral  paths  running  at  right  angles  to  each  other.  Where  such 
paths  cross  in  the  centre,  statues,  fountains,  sun-dials,  basins,  or  pools  may  be  placed; 
or  if  the  garden  be  long  in  proportion  to  its  width,  the  motive  may  be  repeated  so 
as  to  form  two  centres,  as,  for  example,  in  the  garden  at  Pomfret,  Conn.,  shown 
in  Plates  xxxv.  to  xxxix.  Frequent  subdivisions  of  the  garden  beds  are  necessary, 
and  a  rectangular  rather  than  a  curvilinear  treatment  of  them  seems  to  be  the 
more  pleasing,  though  a  charming  example  of  the  latter  style  may  be  seen  in 
the  garden  at  New  Castle,  Del.,  shown  in  Plates  LXXII.  and  LXXIII. 


In  combining  the  various  elements  of  the  garden  design,  they  should  be  so 
placed  as  to  form  a  composition  ;  that  is  to  say,  each  element  should  stand  in  its 
proper  relation  to  every  other.  An  example  will  show  what  I  mean.  In  discuss- 
ing the  difference  between  the  natural  and  the  formal  styles,  we  saw  that  in  the 
formal  garden  the  paths  were  a  part  of  the  decorative  design.  Suppose,  then, 
that  in  some  geometrically  planned  garden  a  series  of  parallel  paths  were  to  be 
separated  by  strips  of  grass  or  by  flower  beds.  If  the  paths  and  the  grass  strips 
were  made  of  the  same  widths  throughout,  the  uniformity  would  suggest  a  piece 
of  striped  calico  in  green  and  yellow.  Not  only  should  there  be  a  difference, 
then,  in  width  between  the  grass  and  the  walks,  but  there  should  be  a  difference 
between  the  widths  of  the  paths  themselves.  Some  one  path  is  sure  to  be  more 
important  than  the  others  and  should  therefore  be  emphasized. 

What  is  true  of  the  paths  is  true  of  the  other  elements  of  the  garden.  The 
same  rules  of  contrast  apply  ;  though  the  desire  for  contrast  should  be  at  all  times 
controlled  and  tempered  by  the  balance  of  the  scheme  as  a  whole.  If  symmetry 
be  one  of  the  elements  in  a  design,  it  would  be  a  mistake,  for  instance,  to  plant 
one  side  of  a  path  with  Japanese  dwarf  evergreens,  and  the  other  with  American 
cedars.  The  two  would  not  harmonize,  the  balance  would  be  lost,  and,  owing 
to  their  differences  in  size,  the  two  kinds  of  trees  would,  in  their  symmetrical 
positions,  be  out  of  scale  with  each  other. 

To  keep  the  garden  "  in  scale  "  is  one  of  the  most  difficult  problems  with 
which  a  designer  has  to  contend,  and  is  one  that  requires  experience  and  training. 
Shall  he  crowd  many  elements  into  a  given  space,  making  the  scale  small,  or  shall 
he  use  fewer  elements  and  keep  the  scale  large  ?  It  is  a  matter  for  individual 
choice  with  each  designer ;  sometimes  it  is  even  a  matter  of  individual  habit, 
for  some  men  always  design  large,  while  others  always  design  small.  The  char- 
acter of  the  surrounding  landscape,  whether  part  of  the  same  estate  as  the  garden 
or  not,  has  much  to  do  with  the  scale ;  and  the  size  of  the  building  near  which 
it  is  to  be  laid  out  has,  as  we  have  said,  even  more.  The  garden  of  Versailles 
laid  out  beside  a  New  England  farm-house  would  be  as  inappropriate  as  a  Salem 
garden  adjoining  the  Vatican. 

The  scale  of  the  gardens  is  determined  not  only  by  the  relative  sizes  of  paths, 
lawns,  and  flower  beds,  but  also  by  the  proportions  of  the  architectural  ornaments. 
Sometimes  a  fragment  imported  from  Europe  is  set  up  in  surroundings  which  in 
themselves  form  no  fitting  frame,  and  what  was  admirably  suited  to  some  large 
Italian  villa  garden  is  found  to  be  utterly  unsuitable  to  the  surroundings  of  an 
American  country  house.  Unfortunately  this  disparity  in  scale  is  not  limited  to 


fragments  that  have  actually  been  imported  from  Europe,  but  extends  to  repro- 
ductions of  architectural  detail,  originally  charming  because  of  their  harmonious 
settings,  yet  which  fail  to  produce  the  same  effect  in  totally  different  surroundings. 
Indeed  it  is  because  they  exhibit  as  they  do  the  adaptation  and  alteration  of  the 
work  of  other  lands  to  suit  our  own  American  surroundings,  requirements,  and 
tastes  that  makes  a  study  of  the  illustrations  of  this  book  so  interesting. 

Once  erected  and  complete,  a  building  can  be  left  measurably  to  itself;  and 
indeed  time  will  increase  its  beauties,  for  time  softens  and  mellows  its  lines  with- 
out destroying  them.  This  is  not  equally  true  of  the  garden  :  age,  and  age  only, 
certainly  can  develop  many  of  its  greatest  charms,  but  it  will  show  the  effects 
of  neglect  all  too  rapidly,  and  a  garden  requires  therefore  not  only  art  in  him 
who  designs  it,  but  the  constant  watchful  skill  of  the  gardener  who  cares  for  it, 
if  it  is  to  grow,  as  it  should,  perennially  more  lovely.  A  landscape  gardener 
may  lay  out  and  design  many  gardens,  but  it  is  not  within  his  power  to  bring 
many  to  perfection  ;  for  when  his  constructive  work  is  done  and  the  first  year's 
planting  arranged,  he  has  often  to  leave  the  perfecting  of  his  work  to  the  owner, 
or  to  the  gardener  whom  the  owner  may  employ.  One  who  wishes  to  have  a 
garden,  then,  should  be  prepared  to  work  long  and  late,  and  to  give  it  his  best 
attention,  otherwise  he  will  be  at  the  mercy  of  his  gardener's  taste. 

The  designing  of  the  garden  is,  of  course,  only,  a  part  of  the  problem,  and 
perhaps  the  part  least  difficult  to  accomplish  well.  The  ultimate  success  or  failure 
of  the  result  will  depend  on  the  proper  choice  of  plants  and  on  their  combi- 
nations of  color.  No  matter  how  good  the  architectural  accessories  may  be, 
no  matter  how  perfect  the  proportions  of  the  garden  itself,  if  the  beds  be  bare 
or  the  colors  crude  and  discordant  the  garden  will  lack  its  chief  beauty,  for,  after 
all,  a  garden  is,  it  should  be  remembered,  primarily  a  place  in  which  to  grow 
flowers;  the  rest  is  but  the  frame. 

First  and  foremost  in  importance,  then,  are  the  flowers ;  but  they  should  not 
be  looked  on  as  so  many  beautiful  specimens  that  need  but  to  he  planted  to  grow 
and  blossom.  The  garden  ought  to  be  more  than  a  museum  of  one's  favorite 
blooms,  where  the  beauty  and  fragrance  of  each  may  be  admired  in  succession, 
but  where  each,  except  in  some  haphazard  way,  does  not  contribute  to  the  total 
effect  of  the  whole.  However  beautiful  in  themselves,  the  flowers  should  be  con- 
sidered as  elements  in  the  design,  and  should  be  so  arranged  that,  as  they  succeed 
each  other  all  summer  long,  each  shall  add  to  the  general  composition  ;  that  is 
to  say,  to  the  effectiveness  of  the  garden  as  a  whole,  even  if  it  be  but  by  some 
tangled,  rampant  growth.  Not  only  should  all  the  varying  combinations  of  colors, 


both  of  blossoms  and  foliage,  week  by  week,  be  foreseen  and  planned,  but  the 
delicate  fresh  colors  of  spring  flowers  must  be  so  chosen  as  to  harmonize  with 
such  permanent  features  as  gravel  walk,  garden  wall,  and  house ;  while  the  rich 
yellows  and  purples  of  the  autumn-blooming  annuals  and  perennials  —  sunflowers, 
asters,  goldenrods,  and  phloxes-- will  require  an  entirely  different  color  scheme. 

With  a  country  like  our  own,  which  extends  through  so  many  degrees  of 
latitude,  the  variety  of  planting  that  is  possible  is  at  once  a  delight  to  the  traveler 
and  the  despair  of  him  who  would  write  upon  methods  of  gardening  ;  for  though 
one  country,  we  have  many  climates,  and  advice  suited  to  one  section  would  be 
utterly  valueless  for  another.  Thus  the  amateur  gardener  who  designs  and 
composes  his  own  garden  is  sure  to  make  mistakes  during  the  first  year  or  two. 
Plants  that  flourished  well  elsewhere  may  not  find  the  precise  conditions  that  they 
need  in  the  new  garden,  the  time  of  flowering  will  vary,  the  colors  will  not  prove 
what  the  florists  promised,  so  that  the  combinations  of  colors  will  be  found  dis- 
appointing,—  all  of  which  will  result  in  extensive  weeding  during  the  season. 
To  design  successfully  in  color  demands  a  power  of  visualization  that  is  rarely 
found  in  beginners;  but  loving  thought  and  affectionate  and  patient  tending  will, 
in  the  end,  create  a  garden  that  may  serve  as  an  encouragement  to  all  lovers  of 
flowers.  It  is  unfortunate  that  the  photographs  cannot  enable  us  to  see  how 
glorious  the  colors  of  some  of  the  gardens  represented  in  this  book  really  are,  - 
with  the  white  and  pink  hollyhocks  glowing  against  the  dark  green  of  a  well- 
clipped  box  hedge  in  some  old-fashioned  garden,  a  sunlit  grapevine  trailing  over 
a  white  trellis,  a  group  of  tiger  lilies  under  a  hot  sun,  or  the  yellow  narcissus  on 
a  shaded  bank. 

Taking  up  in  detail  the  elements  that  compose  a  garden,  we  shall  find 
that  next  in  importance  to  the  flowers  is  the  framework  or  boundary.  This  may 
consist  of  a  building,  a  garden  wall,  the  edge  of  a  terrace,  a  hedge,  a  border  of 
shrubbery,  the  edge  of  a  wood,  or  a  sheet  of  water;  for  whether  the  garden  be 
formal  or  natural,  it  should  have  some  boundary.  An  irregular  field  of  daisies 
or  a  stretch  of  heather  is  extremely  beautiful,  but,  according  to  our  use  of  the 
word,  is  not  a  garden.  Even  in  the  most  informal  arrangement  of  flowers,  a 
background?  is  necessary  in  places.  Walls  and  hedges  should  serve,  however, 
not  only  as  a  background,  but  to  give  protection  from  the  cold  winds,  and  yet 
be  low  enough  to  let  the  sun  into  the  garden  all  day  long,  for  there  will  always 
be  spots  where  a  little  shade  can  be  contrived  for  those  plants  that  especially  need 
it.  If  the  house  is  built,  or  the  walks  and  hedges  are  already  in  position,  the 
garden  ought  to  be  so  placed  as  to  fulfil  these  requirements  of  shelter  and  sun. 


When  the  garden  is  to  be  terraced  it  becomes  one  of  the  most  difficult 
problems  that  the  designer  has  to  face ;  for,  owing  to  the  great  expense  of 
retaining-walls  and  balustrades,  work  cannot  be  done  experimentally,  but  must 
be  done  right  the  first  time.  There  are,  however,  many  admirable  examples  for 
the  treatment  of  walls  and  terraces  in  England,  and  especially  in  Italy,  where 
the  designing  of  terraces  was  carried  to  a  state  of  perfection  which  has  added 
much  to  our  command  over  this  architectural  detail ;  and  the  Italian  examples 
should  be  studied  on  all  occasions  where  terracing  is  necessary.  The  various 
levels,  too,  have  to  be  connected  by  steps  and  stairways,  which  in  themselves  often 
form  interesting  decorative  features.  We  are  prone  in  this  country  to  make  our 
steps  too  narrow  and  our  stairways  too  steep.  Out-of-doors,  where  more  space 
is  available  than  within,  stairs  may  be  given  a  breadth  and  treatment  that  are 
impossible  in  a  house ;  and  their  ornamental,  even  more  than  their  utilitarian 
character  should  constantly  be  borne  in  mind.  The  planting  on  the  different 
terraces  may  be  divided  into  garden  beds  or  grass  lawns  by  gravel  paths  and  paved 
walks,  so  as  to  give  variety  in  detail.  The  aim  should  be  to  avoid  too  much 
monotony  in  the  width  of  successive  terraces,  especially  where  the  grade  is  so 
uniform  that  it  becomes  expensive  to  make  the  various  levels  vary  in  width  on 
account  of  the  large  amount  of  soil  that  has  to  be  moved.  When,  however, 
marked  and  abrupt  changes  in  grade  occur,  it  becomes  possible  to  produce  most 
interesting  results.  The  garden  at  Purchase,  N..Y.  (Plate  xciv.),  shows  an  illus- 
tration of  such  terracing.  Here  the  garden  is  below  the  terrace  on  which  the 
house  stands,  and  is  itself  well  backed  up  on  the  west  by  a  high  retaining-wall, 
and  on  the  east  and  north  by  a  thick  row  of  trees,  while  the  irregular  fringe  of 
shrubs  growing  up  from  below  softens  what  might  otherwise  be  too  straight  a 
line  in  the  framework. 

When  the  beds  and  grass  patches  are  separated  from  the  paths  by  box  or 
some  other  edging,  as  is  usually  the  case,  the  sharp  lines  so  produced  should  be 
softened  by  a  freedom  of  growth  in  the  flowers,  so  as  to  attain  not  only  a  rich 
but  a  soft  effect.  For  the  same  reason  all  planting  should  be  done  with  a  view 
to  keeping  the  beds  full  throughout  the  season, --and  therein  lies  one  of  the 
drawbacks  of  planting  roses  in  the  central  beds,  as  several  of  the  following  plates 
bear  witness.  When  they  are  at  their  best  there  is  nothing  more  attractive  than 
roses ;  but  the  season  is  so  short  in  this  country  that  a  rose  bed  will  be  bare 
late  in  the  spring  and  early  in  the  autumn,  and  is  then  apt  to  contrast  unpleasantly 
with  more  luxuriant  growths.  Roses  seem  to  produce  better  results  either  when 
planted  on  the  outer  edge  of  the  plot  or  by  themselves  to  form  a  special  rose 


garden.  Such  a  separate  rose  garden  will  give  complete  satisfaction  in  its  season; 
and  at  other  times,  when  admittedly  in  a  transition  stage,  it  will,  being  by  itself, 
break  up  no  composition.  Roses,  unless  they  are  of  the  climbing  variety,  produce 
a  far  better  effect,  too,  when  seen  from  above  or  else  banked  up  so  that  each  bush 
can  be  readily  seen.-  They  grow  so  tall  that  they  lose  much  of  their  effect  in  a 
mass.  Other  flowers  which,  like  roses,  grow  so  high  that  they  might  prevent 
one  walking  through  the  paths  from  seeing  their  humbler  brothers  behind  — 
hollyhocks  and  sunflowers,  for  instance  —  should  find  their  place  beside  the  garden 
wall,  which,  covered  with  vines  or  serving  as  a  support  for  fruit  trees  en  espalier, 
will  make  an  excellent  background  for  the  taller  varieties. 

I  should  not  be  understood  to  imply,  however,  that  the  garden  should  only 
make  a  color  design  in  flat  patterns;  indeed,  nothing  is  more  monotonous  than 
the  "carpet  bedding"  style,  where  plants  are  set  out  in  formal  patterns  to  remain, 
with  as  few  changes  as  possible,  throughout  the  season.  This  fashion,  in  vogue 
during  the  last  century,  finds  its  complete  expression  of  bad  taste  in  the  attempts 
one  often  sees  to  reproduce  in  private  gardens  certain  emblems  or  pictures  by 
means  of  different  colored  plants.  The  habit  of  making  intricate  designs  with 
box  edging,  another  relic  of  the  labyrinthine  and  embroidery-like  bedding  of 
two  centuries  ago,  should  also  be  avoided  as  belonging  to  the  past. 

Paths  have  sufficient  excuse  for  being  if  they  wander  in  and  out  among  the 
flower  beds,  follow  the  line  of  a  terrace,  a  balustrade,  or  lead  to  some  flight  of 
steps.  They  may,  following  the  inspiration  of  some  vine-shaded  terrace  at  Amalfi, 
or  some  half-ruined  arbor  in  an  old  Nantucket  garden,  be  covered  with  trellis- 
work,  so  as  to  form  an  arbor  or  pergola. 

The  pergola  may  bound  the  garden  on  one  side,  or  form  a  central  motive  in 
the  distance.  In  either  case  its  lines  should  be  carefully  studied,  for  its  size  and 
proportions  may  have  much  to  do  with  the  scale  of  the  garden.  The  following 
plates  show  how  the  pergola  may  be  treated  in  many  different  ways.  In  fact,  the 
whole  end  of  the  garden  may  take  the  form  of  a  pavilion  or  summer-house 
combined  with  a  pergola,  as  in  the  plan,  shown  on  the  following  page,  of  the 
garden  at  "Faulkner  Farm,"  in  Brookline,  Mass.  (See  Plates  cvi.  to  cxn.)  This 
garden,  which  prolongs  the  line  of  the  house  in  an  admirable  way,  forms,  with  its 
flowers  and  basins,  its  terraces  and  walks,  the  pleasantest  of  out-of-door  rooms.  It 
is  so  near  the  house  that  it  requires  no  effort  to  reach  it,  and  so  surrounded  that 
the  charm  of  seclusion  is  well  preserved. 

The  arbor,  the  pergola,  and  the  summer-house  have  always  been  the  prin- 
cipal ornamental  architectural  features  of  the  garden;  but  in  using  them  in  a 


climate  like  ours  we  must  always  remember  how  comparatively  short  our  Ameri- 
can summer  is,  and  how  bare  and  out  of  place  they  are  apt  to  look  during  the 
winter  months.  Indeed,  in  laying  out  suburban  places  or  in  planning  houses  that  are 
to  be  lived  in  the  year  round,  we  are  too  apt  to  forget  the  long  months  when  the 
basins  will  be  frozen  over,  the  sun-dial  covered  with  snow,  the  statues  boxed  up, 
and  the  garden  beds  nothing  but  brown  patches.  To  any  one  who  loves  the 
country  the  winter  aspect  of  trees  and  shrubs  will  always  have  great  charm.  The 


PLAN  OF  "FAULKNER  FARM,"  BROOKLINE,  MASS. 


CHARLES    A.    PLATT,  ESQ.,    ARCHITECT. 


network  of  limbs  and  twigs  of  the  trees  against  the  sky,  and  the  soft  coloring  of 
the  young  branches  of  both  trees  and  shrubs  are  important  elements  in  the 
beauty  of  a  natural  winter  scene  ;  but  in  a  formal  garden  these  same  trees  and 
shrubs,  when  denuded  of  their  leaves,  serve  only  to  accentuate  the  bareness  of  the 
garden  itself.  There  can  be  no  doubt  that,  despite  the  summer  charms  of  the 
formal  garden,  the  natural  style  appears  better  in  our  climate  in  winter,  and  that, 
therefore,  a  formal  garden  will  give  its  greatest  satisfaction  only  when  it  is  built 
in  connection  with  a  house  that  is  to  be  principally  used  in  summer. 

The  opportunity  to  introduce  such  elaborate  fountains  and  combinations  of 
pools  and  cascades  as  are  seen  abroad  does  not  often  occur  in  this  country;  and 
where  water  is  used,  some  regard  must  generally  be  paid  to  the  presence  of  the 


water-meter.  A  pool  or  basin  of  standing  water,  as  in  the  old  Egyptian  gardens, 
will,  however,  serve  to  grow  aquatic  plants,  and  to  add  that  touch  of  life  to  the 
scene  which  can  best  be  given  by  the  reflections  from  the  surface  of  a  pool. 
Indeed,  the  charming  effects  that  can  be  obtained  at  comparatively  slight  expense 
by  the  judicious  use  of  a  small  basin  make  water  one  of  the  most  useful  accessories 
of  the  garden. 

Of  the  other  architectural  ornaments  of  the  garden,  little  need  be  said 
except  that  they  should  be,  if  possible,  beautiful, --at  any  rate,  well  designed, 
—  and  that  they  should  be  in  scale  with  the  garden.  No  imitation  of  more  expen- 
sive materials  by  cheaper  ones  should  be  permitted,  because,  even  though  the 
counterfeit  may  not  be  apparent  from  a  distance,  a  nearer  view  will  detect  the 
sham.  Marble  should  be  marble,  stucco  should  look  like  stucco,  and  wood  should 
pretend  to  be  nothing  better  than  wood.  The  solidity  of  the  stucco  columns  at 
"Stratford  Lodge,"  Bryn  Mawr,  Penn.  (Plates  I.,  n.,  and  in.),  for  instance,  shows 
that  they  make  no  pretence  of  being  marble.  It  is  perfectly  possible  to  build, 
as  our  ancestors  did,  interesting  wooden  pergolas  and  balustrades,  which  owe  their 
attractiveness  to  the  fact  that  they  are  delicate  in  line  and  in  mass  in  a  way  that 
would  be  impossible  in  marble.  There  are  limitations  to  any  one  material,  of 
course;  but  a  study  of  the  following  plates  will  show  that  no  matter  what  the 
material  be,  so  long  as  it  is  properly  used,  or  no  matter  how  slender  the  owner's 
purse,  an  attractive  garden  can  still  be  contrived.  Indeed,  several  of  the  gardens 
illustrated  were  built  by  their  owners  without  the  assistance  of  any  skilled  work- 
men, and  many  of  them  are  planted  and  brought  to  a  state  of  perfection,  year  after 
year,  by  the  owners  themselves.  It  is,  after  all,  the  feeling  of  ownership  that  is 
one  of  the  greatest  pleasures  of  gardening, —  ownership  not  only  of  the  ground 
where  the  flowers  grow,  but  ownership  of  the  design  according  to  which  they 
have  been  planted,  and  therefore  ownership  of  the  resulting  beauty. 

We  shall  find  that  the  special  elements  of  beauty  in  the  best  and  most  char- 
acteristic of  our  American  gardens  are  simplicity  of  line,  harmony  of  form  and 
color,  and  richness  in  the  details  of  planting.  The  judicious  study  of  the  best 
examples  of  this  and  other  countries,  the  aim  to  keep  writhin  the  limits  set  by 
one's  surroundings  and  one's  purse,  and  above  all  the  patience  born  of  a  love  for 
flowers,  will  make  possible  a  garden  which  may  be  a  well-spring  of  delight,  even 
to  him  who  owns  the  smallest  plot  of  land.  There  is  no  spot  so  small  that 
cannot  bring  forth  a  few  flowers,  no  rock  so  barren  that  it  cannot  be  made  to 
bloom. 

GUY    LOWELL. 


ILLUSTRATIONS 


BRYN   MAWR,  PENN. 


1    THE    GARDEN    FROM    THE    LOWER    LEVEL 


BRYN   MAWR,  PENN. 

1     THROUGH     THE    PERGOLA 
2    THE     GARDEN    WELL 

3  INSIDE    THE    UPPER     GARDEN 

4  INSIDE    THE    UPPER     GARDEN 


BRYN  MAWR,  PENN. 


1    THE    LOWER     GARDEN 
2    THE    UPPER     GARDEN     FROM     BELOW 


"Cite 


MILTON,  MASS. 


FROM  THE  CENTRE  OF  THE  GARDEN 


MILTON,    MASS. 


THE      CENTRE       PATH 


'0  Gttrtrtn" 

MILTON,    MASS. 

1    THE    END    OF    A    SIDE    PATH 
2   LOOKING    TOWARD    THE    ORCHARD 

3  THE    LOWER    PATH 

4  THE    SOUTH    WALK 


PLAT  E     VII 

<S0bn*iT0r'tf 

MILTON,    MASS. 

THROUGH    THE    GRAPE     ARBOR 


PLATE    VIII 


"Wteatrtea" 

SCARBOROUGH,    N.  Y. 

1    THE     GARDEN     FROM     THE    TERRACE 
2    THE    FOUNTAIN 


OF  THE 

UNIVERSITY 

OF 


SCARBOROUGH,    N.  Y. 

1    FROM     THE    TERRACE    STEPS 
2    FOUNTAIN    AND    PERGOLA    FROM    THE    NORTH 


OF  THE 

I  UNIVERSITY) 

^^UFORNiLi 


SCARBOROUGH,    N.  Y. 

1    AN    ITALIAN    WELL-HEAD 
2    A    BED    OF    EVERGREENS 


ANNAPOLIS,   MD. 


THE     UPPER     TERRACE 


PLATE    XII 


A  GARDEN  AT 


1  THE  GARDEN  FROM  THE  HOUSE 
2  THE  FOUNTAIN 


PLATE     XIII 


A  GARDEN   AT 


1    BETWEEN    THE    LAWN    AND    THE    GARDEN 
2    THE    PERGOLA 


PLATE     XIV 


A  GARDEN   AT 


§>t. 


1    THE    PERGOLA 
2    THE    HERM/E 


P  L  A  T  H     XV 


CORNISH,     N.    H. 


1     A    SEAT    IN     THE     LILY     GARDEN 
2    THE    LILY    (JARDEN 


PLATE     XVI 


CORNISH,    N.    H  . 


1    THE    FOUNTAIN    BASIN    FROM    THE    FRONT 
2    THE    FOUNTAIN    BASIN    FROM    THE    REAR 


PLATE    XVII 


1T  |30tttt 

DUBLIN,   N.H. 


GENERAL    VIEW     OF    THE    GARDEN 


"&0Crtt 

DUBLIN,  N.  H. 

1  THE  CENTRE  PATH 
2  UNDER  THE  GRAPE  ARBOR 


OF  THE 

UNIVERSITY 

OF 


PLATE     XIX 


GLIMPSES    OF    GARDENS    IN 


1    A    GARDEN    ON    WASHINGTON    SQUARE 

2    A    GARDEN    ON    BARTON    SQUARE 
3   ENTRANCE    TO    THE  "OLD    NICHOLS    GARDEN 
4   A    CORNER    IS    A    SUMMER    STREET    GARDEN 


PLATE     XX 


SEABRIGH  T,    N.  J. 

1  GENERAL  VIEW  OF  THE  GARDEN 
2  THE  GARDEN  FROM  THE  TERRACE 


PLATE     XXI 


SEABRIGHT,    N.   J. 

1    THE    JAPANESE    FOUNTAIN 

2    A    SIDE    PATH 

3  THE  TERRACE  FROM  THE  GARDEN  HOUSE 
4  EAST  CORNER  OF  THE  GARDEN 


SEABRIGHT,  N.  J. 

1  THE  CENTRE  OF  THE  GARDEN 
2  THE  GARDEN  GATE 


PLATE    XXIII 


<0Itr  Hatnr  (Sarirrtt" 

PORTSMOUTH,   N.  H. 


THE    BEEHIVE 


PLATE    XXIV 


A  GARDEN  AT 


1    THE    GARDEN    FROM    THE    HOUSE 
2    LOOKING     TOWARD      THE      HOUSE 


PLATE    XXV 


",-iPatrarreo" 

JENK1NTOWN,     PENN 

THE    CENTRE    CROSS-PATH 


JENKINTOWN,    PENN. 

1    GENERAL    VIEW    OF    THE    GARDEN 
2  LOOKING   DOWN   THE  GARDEN 

3  LOOKING  UP  THE  GARDEN 
4  THE   LOWER    END    OF  THE  GARDEN 


"CT 


0FTHf'l  •'• 

VARSITY 

*ifc,P>,     OF 

^ORN\N, 


PLATE     XXVII 


WYE    RIVER,   MD. 

1     THE    FLOWER     GARDEN 
2    THE    ORANGERY 


PLATK     XXVIII 


WYE    RIVER,    MD. 

1  AN  OVERGROWN   PATH 
2  "LOVERS'   WALK" 


LENOX,  MASS. 


1   THE  WATER   GARDEN  FROM   THE    HOUSE 

2    THE   WATER    GARDEN    LOOKING    TOWARD 
THE    HOUSE 


ffz    is*  if-2 


PLATE    XXX 


LENOX,  MASS. 


THE    FAUN    FOUNTAIN 


LENOX,   MASS. 


1  STEPS  TO  THE   EAST  FLOWER  GARDEN 

2   THE  FAUN   FOUNTAIN    FROM    THE    LOWER 
TERRACE 


PLATE  XXXII 


A  GARDEN  AT 


1  THE  GARDEN  FROM  THE  TERRACE 
2  STEPS  TO  THE  TERRACE 


PLATE    XXXIII 


A     GARDEN    AT 


1   FROM   THE  CENTRE  OF  THE  GARDEN 
2  A  SHELTERED   FOUNTAIN 


PLATE    XXXIV 


JAMES    RIVER,   VA. 

1   A    NEGLECTED    PATH 
2    A     BOX-HEDGED     WALK 


POMFRET,  CONN. 


THE    CENTRE    OF    THE    GARDEN 


POMFRET,  CONN. 


1   GENERAL    VIEW    FROM    THE    UPPER    TERRACE 
2  LOOKING  TOWARD  THE  UPPER   TERRACE 


POMFRET,  CONN 

1    THE    CASINO 
2    THE    SOUTH    CORNER    OF    THE    GARDEN 


POM  FRET,  CONN. 


THROUGH    THE    COLONNADE 


•>"'  -^  ^     ^IJ 

X 


I'OMKRKP,  CONN, 

I     I  UK    WK»T  S1I1K    PATH 
8  THtt   KNt>  OK  THK   WK!H'  MOK   PATH 


POMFRET,  CONN. 


1  ALONG  THE  UPPER  TERRACE 
2  SOUTHEAST  END  OF  THE  GARDEN 


PLATE    XLI 


GERMANTOWN,   PENN. 

1    THE    GARDEN 
2    THE    VINE-COVERED    PORCH 


STRAFFORD,  PENN. 


THE    GARDEN    FROM    THE    HOUSE 


PLATE    XLIII 


"Eire  CSartfc" 

STRAFFORD,    PENN. 

1    A    SIDE    HATH 
2    T.HROUGH    THE    PERGOLA 


\ 


SEABRIGHT,  N.  J. 


1  "PAN  OF  ROHALLION 
2  THE  SAND  GARDEN 


PLATE    XLV 


JAMES    RIVER,   VA. 


1    THE    HOUSE    FROM    THE    LAWN 
2    A    BOX-BORDERED    WALK 


PLATE    XLVI 


"  Bran*  0tt  " 

JAMES    RIVER,  VA. 

1    THE    GRASS    WALK    TO    THE    RIVER 
2    ALONG    THE    HOUSE    FRONT 


BROOKLINE,    MASS. 


LOOKING    THROUGH    THE    PERGOLA 


BROOKLINE,    MASS. 

1     LOOKING    THROUGH    THE     PERGOLA 

2    A    SEAT    UNDER   THE    VINES 

3    LOOKING    THROUGH    THE    PERGOLA 

4    THE    JAPANESE    WATER-GARDEN 


• 


PLATE     XL1X 


BROOKLINE,    MASS. 


THE    JAPANESE    WATER-GARDEN 


PLATE     L 


A  GARDEN   AT 


1     THE    GARDEN    LOOKING     TOWARD    THE    HOUSE 
2    THE    GARDEN    FROM    THE    HOUSE 


PLATE     LI 


A  GARDEN  AT 


1    THE    WEST    CORNER    OF    THE    GARDEN 
2    BY  THE    SUMMER-HOUSE 


PLATE     LII 


PETERBOROUGH,    N.  H. 


FROM    THE    EAST    SIDE    OF    THE    GARDEN 


PETKRBOROUGH,  N.  H. 

1    THE    GARDEN    SKAT 

•2     THE    CENTRE      PATH 

3     ENTRANCE     TO     THE     GARDEN 

4    OUTSIDE    THE    GARDEN 


PRINCETON,   N.  J. 

1    LOOKING     EAST    DOWN    THE    GARDEN 
'      2   THE  WEST   END  OF  THE  GARDEN 


PLATE     LV 


A  GARDEN  AT 


A    SIDE    PATH 


PLATE    LVI 


A   GARDEN   AT 


1    GENERAL    VIEW    OF    THE    GARDEN 
2    LOOKING    TOWARD    THE    HOUSE 


PLATE     LV1I 


A   GARDEN   AT 


THE    LILY    POOL 


"Etttriatt 

GREENWICH,  CONN. 

1    THE    WEST    SHORE    LOOKING    NORTH 
2    THE    WEST    SHORE    LOOKING    SOUTH 


GREENWICH,   CONN. 


1    STAIRWAY    FROM    THE    BOAT    LANDING 
2    LOOKING    UP    THE    PERGOLA 


GREENWICH,  CONN. 


THE  PERGOLA  FROM  THE  PORTICO 


GREENWICH,   CONN. 

1     THE     FLOWER     GARDEN 
2    THE    FLOWER    GARDEN 


PLATE    LX1I 


A  GARDEN   AT 


1    BEFORE    THE    HOUSE 
2    A    TERRACED    PATH 


PLATE    LXIII 


A  GARDEN   AT 


GENERAL    VIEW    OF    THE    GARDEN 


PLATE     LXIV 


A   GARDEN  AT 


1    THE    LOWER    TERRACE 
2    THE    FOUNTAIN    BASIN 


PLATE    LXV 


A  GARDEN  AT 


1    THE    FOUNTAIN    BASIN 
2  STEPS     TO    THE    RAISED    TERRACE 


PLATE     LXVI 


ABINGTON,    PENN. 


1    GENERAL    VIEW    OF    THE    GARDEN 
2    THROUGH    THE    GRAPE    ARBOR 


PLATE    LXVII 


BROOKLINE,    MASS. 


IN    THE    WILD    GARDEN 


MONTCLAIR,    N.  J. 


1    THE    GARDEN   FRONT    OF    THE    HOUSE 
2    THE    GARDEN    FROM    THE    PORCH 


MONTCLAIR,  N.  J. 


1    THE    GARDEN    FROM    THE    PORCH 
2    THE     ENTRANCE    TO    THE    GARDEN 


PLATE    LXX 

•™* 

"JFtUa  HavrattU" 

MONTCLAIR,  N.  J. 

1    GATE    TO     THE    STABLE    YARD 
2    THE    SUN-DIAL 


"SCfte  jFarnt" 

DANVERS,     MASS. 

LOOKING  DOWN  THE  GARDEN 


"Cfee 

NEW  CASTLE,  DEL. 

1     GENERAL    VIEW    OF    THE    GARDEN 
2    THE    SIDE    PATH 


OF  THE 

UNIVERSITY 


lUatr 

NEW   CASTLE,   DEL. 

LOOKING     TOWARD     THE     HOUSE 


BELLE    HAVEN,   CONN. 

1    THE    HOUSE    COURT 
2    GENERAL    VIEW    OF    THE    GARDEN 


BELLE    HAVEN,   CONN. 

1    ON     THE     FIRST    TERRACE 
2    A    VINE-COVERED    ARCH 

3    THE    HOUSE    COURT 
4    THE    DESCENT    TO    THE    GARDEN 


PLATE    LXXVI 


GLIMPSES     OF 


1    "MIDDLETON    PLACE."     A    RUINED 
GARDEN    WALK 


2  "DRAYTON  HALL."  THE  MAGNOLIA  GARDEN 


OF  THE 

UNIVERSITY 

OF 


PLATE    LXXVII 


MAMARONECK,    N.   Y. 

1    THE    GARDEN    FROM    THE    HOUSE    TERRACE 
2    THE    HOUSE    TERRACES 


PLATE    LXXVIII 


MAMARONECK,     N.  Y. 

1     THE    CORNER    OF    THE    TERRACE 
•1    ALONG    THE    UPPER    TERRACE 


PLATE    LXX1X 


A       GARDEN       AT 

Cm-molt,  $.  II?. 

IN     THE      FLOWER     GARDEN 


THE 


PLATE    LXXX 


A       GARDEN       AT 

Carm'fifr,  $.  31?. 


1     THE     SOUTH     PATH 
2    LOOKING     FROM    THE    TERRACE 


PRINCETON,    N.  J. 

1    THE     FOUNTAIN 
2    BIRD'S-EYE    VIEW 


OF  THE 

UNIVERSITY 

OF 


PLATE    LXXXI1I 


A    GARDEN    AT 


1    GENERAL    VIEW    OF    THE    GARDEN 
2   GENERAL  VIEW   OF  THE   GARDEN 


UNIVERSITY 

OF 

IFORNls 


PLATE    LXXXIV 


A  GARDEN  AT 


1    THE    GARDEN   SEAT 
2    ENTRANCE    TO    THE    WILD    PATH 


PLATE    LXXXV 


A   GARDEN  AT 


THE    ITALIAN    GARDEN 


MORRIS  TOWN,   N.  J. 

1    THE    COURT 
2    THE    SOUTH    SIDE    OF   THE    COURT 


v  €a\\vt" 

MORRISTOWN,   N.  J. 


1    THE    FOUNTAIN     BASIN 
2   THE    WEST    END    OF    THE    PERGOLA 


A   GARDEN  AT 


1    THE    GRAPE   ARBOR 
2    AN    OVERGROWN     CORNER 


PLATK    LXXXIX 


A  GARDEN  AT 


GENERAL    VIEW    OF    THE    GARDEN 


v  •. 


PLATE     X  C 


A  GARDEN  AT 


1    THE   BASIN 
2   ON    THE    MIDDLE    TERRACE 


I   "THE    OLD    SANFORD   GARDEN,"   NANTUCKET, 

MASS. 

2    A    GARDEN    AT    PORTSMOUTH,  N.  H. 


PLATK    XCII 


CORNISH,   N.  H. 

1    THE    SOUTH    SIDE    OF    THE    GARDEN 
2    THE    CENTRE   OF    THE    GARDEN 


"Jlfrtta  & 

NEWPORT,   R.  I. 

1  THE  GARDEN  FROM  THE  TERRACE 
2  THE  TERRACE 


PLATE    XCIV 


"<9£fttr  A 

PURCHASE,   N.  Y. 

GENERAL    VIEW    OF    THE    GARDEN 


ffttir  a  3Jrn  no'nl  bnn  in  (Sartfeit 

1    A  GARDEN   AT  BEVERLY,  MASS. 

THE  FOUNTAIN 

2  "SEVENOAKS,"  UPSAL,  PENN. 

THE  SQUARE  GARDEN 


PLATE    XCVI 


STOCKBRIDGE,   MASS. 


1  THE  GARDEN  FROM  THE  TERRACE 
2  ALONG  THE  TERRACE 


PLATE    XCVII 


te  Cmtrt" 

BERNARDSVILLE,   N.  J. 

THE    LOWER    GARDEN 


uJ  Cururt" 

BERNARDSVILLE,   N.  J. 


1  THE  UPPER  GARDEN  LOOKING  TOWARD  THE 
VERANDA 


2  THE  UPPER  GARDEN  FROM  THE  VERANDA 


OF  THE 

UNIVERSITY 

OF 


1     THE    SUMMER-HOUSE 

2  A    GARDEN    SHELTER 

3  BOX-HEDGED    BEDS 

4  A     WINDING     PATH 


OF  THE 

UNIVERSITY 

OF 


PLATE     C 

"CftHtrn" 

RYDAL,  PENN. 

LOOKING  DOWN  THE  CENTRE  PATH 


PLATE      C  I 

"Cfcelten" 

RYDAL,  PENN. 


1     THE    CROSS    PATH 
2    ACROSS    THE    LOWER    END    OF    THE    GARDEN 

3    A    CORNER    GARDEN    HOUSE 
4    ACROSS    THE    UPPER    END    OF    THE    GARDEN 


"PEMBROKE,"  BRYN   MAWR,  P.ENN. 
THE  GARDEN    ENTRANCE 

THE    GRANGE,"    OVERBROOK,    PENN. 
A    SHELTERED    CORNER 


PLATE    CIII 


41  OTaeft mg;tff u'd 

MT.   VERNON,   VA. 


1    BOX-EDGED    BEDS 
2    A    CORNER    BY    THE    SLAVE    QUARTERS 


'd  toatfttn" 

MT.    VKRNON,    VA. 


1  THE  WEST  CORKER  OF  THE  GARDEN 
2  THE  LONG  PATH  FROM  THE  SCHOOL-HOUSE 


PLATE     C V 


eiftdft  tiTcrtff  it'rf 


MT.   VERNON,   VA. 


1  HOLLYHOCKS 
2  THE  ROSE  GARDEN 


BROOKLINE,    MASS. 


THE    GARDEN    FROM    THE    CASINO 


PLATE    CVII 


BROOKLINE,    MASS. 

1    A    BIRD'S-EYE    V  1EW 
2    ACROSS     THE    GARDEN 


BROOKLINE,    MASS. 

1  END  OF  THE  CASINO  PERGOLA 
2  THE  POOL 


PLATE     C1X 
— y-syt 

"JPattlfent  r   farm" 

BROOKLINE,    MASS. 

1     ENTRANCE     TO     THE    TERRACES 

2    STEPS     TO     THE     CASINO 

3    SIDE    WALK    LOOKING    TOWARD    THE    PERGOLA 
4   SIDE    WALK    LOOKING    FROM    THE    PERGOLA 


BROOKLINE,    MASS. 

1    A    CORNER     OF    THE     UPPER     TERRACE 

2    END    OK    THE    CASINO    PERGOLA 

3    STEPS     TO     THE     UPPER     TERRACE 

4     THE    TERRACE    WALL 


r  jParm" 

BROOKLINE,    MASS. 


1  THE  UPPER  TERRACE 
2  A  CORNER  OF  THE  GARDEN 


• -    .ill:, 


PLATE    CXII 


attlftirtr  Jfarwt" 

BROOKLINE,    MASS. 

THE     CASINO 


UNIVERSITY 

OF 

'   '        , 


INDEX 


OF  THE 

UNIVERSITY 

OF 


INDEX 


NOTE.  —  The  sketch  flans  contained  in  this  Index  make  no  pretence  to  exact  accuracy  of 
dimensions  or  detail.  They  are  merely  intended  to  show  the  general  arrangements  of  the  gardens 
they  represent,  and  to  indicate  the  points  from  which  the  views  on  the  foregoing  pages  were  photo- 
graphed. The  italic  letter  following  the  title  of  a  view  refers  to  a  correspondingly  lettered  arrow 
on  the  plan  which  shows  the  position  and  pointing  of  the  camera. 


PLATE  VI.  i    The  End  of  a  Side  Path  d 

PLATE  VI.  2    Looking  toward  the  Orchard  e 

PLATE  VI.  3    The  Lower  Path  / 

PLATE  VI.  4    The  South  Walk  g 

PLATE  VII.     Through  the  Grape  Arbor  b 


Messrs.  KEEN  &  MEAD,  Architects 


PLATE  I.     The  Garden  from  the  Lower  Level  a 

PLATE  II.  I  Through  the  Pergola  d 

PLATE  II.  2  The  Garden  Well  e 

PLATE  II.  3  Inside  the  Upper  Garden  f 

PLATE  II.  4  Inside  the  Upper  Garden  g 

PLATE  III.      i    The  Lower  Garden  b 

PLATE  III.     2    The  Upper  Garden  from  below  c 

"Cije  (governor's  <Sartren,"£«nton,fHass. 


••-•• 


;  i^ag  s^ 

^   -r- 


•ssj 

' 


PLATE  IV.     From  the  centre  of  the  Garden  a 
PLATE  V.     The  Centre  Path  c 


"SBoofclca,"  Startiorouflf),  TSr.¥. 

Messrs.  OLMSTED,  OLMSTED,  6f  ELIOT,  Architects 


K 

.«-«,4.,£slf      ==_J_* ..- 


PLATE   VIII.      i    The  Garden  from  the  Terrace  a 
PLATE  VIII.     2    The  Fountain  b 

PLATE  IX.      i    From  the  Terrace  Steps  c 
PLATE  IX.      2    Fountain   and    Pergola   from    the 
North^ 

PLATE  X.      i    An  Italian  Well-head  e 
PLATE  X.     2    A  Bed  of  Evergreens/" 


Carroll  Grartrcn,"  annapolts, 

PLATE  XI.     The  Upper  Terrace 


<25artren  at  St.  James,  TS.  ST. 

Mr.  STANFORD  WHITE,  Architect 


'ZLooii  $otnt,"  Dublin, 


PLATE  XII.  i    The  Garden  from  the  House  a 

PLATE  XII.  2    The  Fountain  b 

PLATE  XIII.      i    Between    the    Lawn     and    the 

Garden  c 

PLATE  XIII.      2    The  Pergola  d 

PLATE  XIV.  I    The  Pergola  e 

PLATE  XIV.  2    The  Herms/ 


PLATE   XV.      I    A  Seat  in  the  Lily  Garden  c 
PLATE  XV.      2    The  Lily  Garden  d 

PLATE  XVI.      i    The  Fountain   Basin  from   the 

Front  a 
PLATE   XVI.      2    The   Fountain    Basin   from   the 

Rear  b 


^f>^|  [jMpi 

<,:••..•:•! .-.3  ..a/    Va  ;.-,•.  ,•,','•  ,Y    \£LJf/  > 


>-   *' 


PLATE  XVII.      General  View  of  the  Garden  a 

PLATE  XVIII.      i    The  Central  Path  c 
PLATE   XVIII.      2    Under  the  Grape  Arbor  b 


of  CSarfcens  in  .Salem, 

XIX.      i    A  Garden  on  Washington  Square 
XIX.      2    A  Garden  on  Barton  Square 
XIX.      3    Entrance  to   the  "Old  Nichols 

Garden  " 

PLATE  XIX.     4    A  Corner  in  a  Summer  Street 
Garden 


PLATE 
PLATE 
PLATE 


Messrs.  F.  L.  OLMSTED  &  COMPANY,  Architects 


PLATE  XX.      I    General  View  of  the  Garden  a 
PLATE   XX.      2    The  Garden  from  the  Terrace  b 


PLATE  XXI.  i    The  Japanese  Fountain  c 

PLATE  XXI.  2    A  Side  Path  d 

PLATE  XXI.  3    The  Terrace  from  the  Garden 

House  e 

PLATE  XXI.  4    East  Corner  of  the  Garden/ 

PLATE  XXII.      i  "The  Centre  of  the  Garden  g 
PLATE  XXII.      2    The  Garden  Gate  li 


ILatft  Barton,"  J3ortsmoutf), 


PLATE  XXIII.     The  Beehive 


<£artrcn  at  Cornisf),  W. 


PLATE  XXIV.      i    The  Garden  from  the  House  a 
PLATE  XXIV.      2    Looking  toward  the  House  b 

"jFatracrcs,"  Jfenfeintoton, 

Mr.  WILSON  EYRE,  Jr.,  Architect 


PLATE  XXV.  The  Centre  Cross  Path  a 

PLATE  XXVI.  i    General  View  of  the  Garden  b 

PLATE   XXVI.  2    Looking  Down  the  Garden  c 

PLATE  XXVI.  3    Looking  Up  the  Garden  d 

PLATE  XXVI.  4    The  Lower  End  of  the  Garden  e 


—  — -**>~^ 


PLATE  XXVII.  i    The  Flower  Garden  a 

PLATE  XXVII.  2   The  Orangery  b 

PLATE  XXVIII.  i    An  Overgrown  Path  c 

PLATE  XXVIII.  2    «  Lovers'  Walk  "  </ 


Messrs.  CARRERE  &  HASTINGS,  Architects 


PLATE  XXIX.      i    The  Water  Garden  from  the 
House  b 


PLATE   XXIX.      2    The  Water   Garden    looking 
toward  the  House  c 

PLATE  XXX.     The  Faun  Fountain  a 

PLATE  XXXI.      i    Steps    to    the    East     Flower 

Garden  d 
PLATE  XXXI.      2    The  Faun  Fountain  from  the 

Lower  Terrace  e 


at 


Mr.  A.  J.  MANNING,  Architect 


PLATE  XXXII.      i    The  Garden  from  the  Ter- 
race a 
PLATE  XXXII.      2    Steps  to  the  Terrace 

[This    view    was    taken    previous    to    a    change    in    the 
arrangement  of  the  garden  as  it  is  shown  in  the  plan.] 

PLATE  XXXIII.      i    From    the    Centre    of    the 

Garden  b 
PLATE  XXXIII.     2    A  Sheltered  Fountain  c 


|pfeAr^$«^f|f&!^' 

uK    ''•  '^^k/  ^^'^^ ^    •"'" ;"  ~'"^R  &\'-*%Siiii  &?\ 


PLATE  XXXIV.     2    A  Box-hedged  Walk  ^ 

3Elm'nore,"  ^omfret,  (Konn. 

Mr.  CHARLES  A.  PLATT,  Architect 


ssiPi  ipr^qr*^  PHUP; 


PLATE  XXXV.     The  Centre  of  the  Garden  b 

PLATE  XXXVI.      i    General  View  from  the  Upper 

Terrace  e 
PLATE  XXXVI.     2    Looking  toward  the  Upper 

Terrace/" 

PLATE  XXXVII.      i    The  Casino  c 
PLATE  XXXVII.     2    The  South   Corner  of  the 

Garden  d 

PLATE  XXXVIII.     Through  the  Colonnade  a 

PLATE  XXXIX.      i    The  West  Side  Path  g 
PLATE  XXXIX.      2    The  End  of  the  West  Side 

Path  // 

PLATE  XL.      i    Along  the  Upper  Terrace  ;' 
PLATE  XL.     2    Southeast  End  of  the  Garden  j 

"aiasgcfe,"  tiffermantoton,  penn. 

PLATE  XLI.      i    The  Garden 

PLATE  XLI.     2    The  Vine-covered  Porch 


),"  Stratfortr,  porn. 

Mr.  WILSON  EYRE,  Jr.,  Architect 


PLATE  XXXIV.      i    A  Neglected  Path  a 


JM#<  •>*•'  ..'•••'•'•'  -    .-••»  \\      - 

ifejL. ^m^ 


PLATE  XLII.     The  Garden  from  the  House  a 

PLATE  XLIII.     i    A  Side  Path  b 

PLATE  XLIII.      2    Through  the  Pergola  c 

"iaoljalUott,"  Seafcrfflijt,  W.  3. 

Messrs.    McKiM,    MEAD    &  WHITE    and    Mr.    NATHAN 
BARRETT,  Architects 


PLATE  XLIV.      i    "  Pan  of  Rohallion  "  a 
PLATE  XLIV.     2   The  Sand  Garden  b 


"  Sranfcon,"  Jatnes 


PLATE  XLV.      i    The  House  from  the  Lawn  a 
PLATE  XLV.     2    A  Box-bordered  Walk  b 

PLATE  XLVI.      i    The  Grass  Walk  to  the  River  c 
PLATE  XLVI.     2    Along  the  House  Front  d 

"<£mn  2&UI,"  Brooftltne,  f«ass. 

PLATE  XLVII.     Looking  through  the  Pergola 

PLATE  XLVIII.  i  Looking  through  the  Pergola 

PLATE  XLVIII.  2  A  Seat  under  the  Vines 

PLATE  XLVIII.  3  Looking  through  the  Pergola 

PLATE  XLVIII.  4  The  Japanese  Water  Garden 


(Sfarten  at  <£onr  Sprinfl  ^artior,  N.  ¥. 

Messrs.  CARRERE  &  HASTINGS,  Architects 


PLATE  L.      i    The   Garden   looking    toward    the 

House  a 
PLATE  L.      2    The  Garden  from  the  House  b 


c&atfrrn  at  &alem, 


Jd 


•-v  >    t-xyt  i     ITS 

:M^k 

^.^^m  E& 


.-•--.,.  _'..v?5r^y.j 
j|  ,....._  ..Jbfg 

A 


^1 

•S 


.-OXvj "  wM 


PLATE  LI.      i    The  West  Corner  of  the  Garden  a 
PLATE  LI.     2    By  the  Summer-house  b 

"HMUtop,"  Pctertorouflf),  w.  &. 

Mr.  CHARLES  A.  PLATT,  Architect 


N  ' 


Xi-^imOTm-ni'nfr-r  YJty^-r^ 


PLATE  XLIX.     The  Japanese  Water  Garden 


PLATE  LII.     From  the  East  Side  of  the  Garden  a 


PLATE  LIU.  i  The  Garden  Seat  b 

PLATE  LIII.  2  The  Centre  Path  c 

PLATE   LIII.  3  Entrance  to  the  Garden  d 

PLATE    LIII.  4  Outside  the  Garden 


"Drumtijtoacfect,"  Princeton,  "St.  J. 

Mr.  BRADFORD  L.  GILBERT  and  Mr.  DANIEL  W.  LANGTON, 
Architects 


^arfior,"  (KmntotrJ),  <£onn. 

Messrs.  CARRERE  6f  HASTINGS,  Architects 


,,..     kjjgjsjjjsffia     {*•.-•— *> 


PLATE  L1V.      i    Looking  East  down  the  Garden  a 
PLATE   LIV.      2    The  West  End  of  the  Garden  b 


PLATE  LVIII.      i    The     West     Shore     looking 

North  b 
PLATE   LVIII.      2    The      West     Shore     looking 

South  c 

PLATE   LIX.      I    Stairway  from  the  Boat  Landing/" 
PLATE  LIX.      2    Looking  up  the  Pergola  g 

PLATE   LX.      The  Pergola  from  the  Portico  a 

PLATE   LXI.      i-    The  Flower  Garden  d 
PLATE   LXI.      2    The  Flower  Garden  e 


(fJ art rn  at  liyiinl, 

Mr.  WILSON  EYRE,  Jr.,  Architect 


PLATE  LV.     A  Side  Path  a 

PLATE  LVI.      I    General  View  of  the  Garden  c 
PLATE   LVI.      2    Looking  toward  the  House  d 

PLATE  LVII.     The  Lily  Pool  b 


(JKarfccn  at  (Eorntslj,  N.  P 

Mr.  CHARLES  A.  PLATT,  Architect 


PLATE   LXII.      i     Before  the  House  a 
PLATE   LXII.      2    A  Terraced  Path  b 


3  tfl.i vtiru  at  ttrucvln, 

Messrs.  LITTLE  &  BROWNE,  Architects 


PLATE   LXIII.      General  View  of  the  Garden  a 

PLATE  LXIV.      i    The  Lower  Terrace  d 
PLATE   LXIV.      2    The  Fountain  Basin  e 

PLATE  LXV.      i    The  Fountain  Basin  b 
PLATE   LXV.      2    Steps  to  the  Raised  Terrace  c 


"  ( 


a  :-.:. 




wV  "  ^rMMfimssEaA^lufc^^A 


:  Kn  aa  «y  c**  ^ 

,;  )£<  *•  aaa  ^  -^ 

^  ^'^3  ^SP^i?  ! 

I  BBAi^  "SLViBa  ;» 


•«m^ 


%  «a  !i>»ta  ^i  .^     •>•  C«W 

'&  SI  ^»   *^  N  ^J   L^Jfe^KifS 
'Sft1  rl  i^iSS*   as*  ra  r>i  p^.^^^^,. 

^wijw^i  '----•  -ij-gsSK? •*1'^^ ^ 
^vwk-^nuK&LJ  J£L 


rtavj-  -J  ^^ 


PLATE   LXVrI.      i    General  View  of  the  Garden  a 
PLATE  LXVI.      2    Through  the  Grape  Arbor  b 


Place,"  SroofcUnr, 

PLATE  LXVII.     In  the  Wild  Garden 

"Villa  Xarcault,"  J«onttlair,  X.Jl. 

Mr.  CHARLES  A.  PLATT,  Architect 


PLATE  LXVIII.      i    The    Garden  Front   of  the 

House  a 
PLATE  LXVIII.     2    The  Garden  from  the  Porch  b 

PLATE  LXIX.      i    The  Garden  from  the  Porch  c 
PLATE  LXIX.      2    The  Entrance  to  the  Garden  d 

PLATE   LXX.      i    Gate  to  the  Stable  Yard  e 
PLATE  LXX.     2    The  Sun-dial/ 


JFarm,"  Santocrs, 


PLATE   LXXI.      Looking  down  the  Garden  a 


Mea*  (Bfarflen,"  Weto  Castle, 


'Honflcroft,"  JHamaronecfe,  W.  ¥. 

Mr.  E.  HAMILTON  BELL,  Architect 


PLATE  LXXII.      i    General  View  of  the  Garden  <: 
PLATE  LXXII.     2    The  Side  Path  b 

PLATE  LXXIII.     Looking  toward  the  House  a 


?      ;?^:-?\        f 


..+• 

riv:-.*- 


.-         ,..  .         -p-s^ 

•  .*-•••-:.•.'-•>.;:    :*f*?9 


r,"  Btlte  ^atoen,  Conn. 

Mr.  WILSON  EYRE,  Jr.,  Architect 


PLATE  LXXVII.      I    The  Garden  from  the  House 

Terrace  a 
PLATE  LXXVII.      2    The  House  Terraces  b 


PLATE  LXXVIII. 
PLATE  LXXVIII. 

a  (Kartell 

i    The  Corner  of  the   Ter- 
race c 
i    Along  the  Upper  Terraces 

at  Cornislj,  1ST.  jfy. 

kV     -••••--- 

- 

*'!  3             ,.  -         ?  .;'.' 
.(  f             I-'        '-'•-  I 
•-?  i-              £•'•>       •f'J  ' 

jjPp  °*1 

1 
I 

i  i" 

•  —  ~j 

K£?fi 

il  t  <^y  o 

if 

i    !.;; 

:  V  1 

t1  . 

;'MJ  :  ^     J^7  , 
>'|  j1" 

•J*|    i1"^             ,9 
V-  i    t^             • 
!  !              :i 
;/c'      ti 

.  tt     .ife^a^Kg^ 

P.  •::>.>-'; 

-¥*§:*- 

•'"      /  "'  '"    • 

)'• 

rc 

i 

i 

F|B^^b 

^  o^j  E&SJ21  ii23Ja 

l^^S 

Kiiii^w^;  QiTiim  —  —  f|V/T.':. 

C^i  \^*  "•«.  s*'         "•  '   ' 
>*->"*    ^  v  ur- 

j^f^S.  '»«K  jf 

pf'^i^^..r  .y. 

ti<,^:->     !;•••'.'•    '  <'  • 

PLATE  LXXIV.  i    The  House  Court 

PLATE  LXXIV.  2   General  View  of  the  Garden  b 

PLATE  LXXV.  i    On  the  First  Terrace  c 

PLATE  LXXV.  2    A  Vine-covered  Arch 

PLATE  LXXV.  3    The  House  Court 

PLATE  LXXV.  4    The  Descent  to  the  Garden/ 


<£ltmpsrs  of  rtoo  SoutJj  Carolina 
tiffartons 

PLATE  LXXVI.  i  "Middleton  Place,"  A  Ruined 

Garden  Walk 

PLATE  LXXVI.  2  "Drayton  Hall,"  The  Mag- 
nolia Garden 


PLATE  LXXIX.     In  the  Flower  Garden  a 

PLATE  LXXX.      i    The  South  Path  b 

PLATE  LXXX.      2    Looking  from   the  Terrace  <• 

"  Constitution  J%\\\r  ^vtnccton,  ^T.iJ. 

Messrs.  COPE  &  STEWARDSON,  Architects 


PLATE  LXXXI.      i    The  Fountain  a 
PLATE  LXXXI.     2    Bird's-eye  View  b 

"  Srairtrgtotnr  jFann,"  fUnape, 

Messrs.  KEEN  £f  MEAD,  Architects 


PLATE  LXXXII.     The  Garden  from  the  House  a 


31  (SacUcn  at  Stotfefintrflc,  i«ass. 


PLATE  LXXXIII.      i    General  View  of  the  Gar- 

den a 
PLATE  LXXXIII.     2    General  View  of  the  Gar- 

den b 

PLATE   LXXXIV.      i    The  Garden  Seat  c 
PLATE  LXXXIV.      2    Entrance     to     the     Wild 

Path  d 


at 


PLATE   LXXXV.      The  Italian  Garden 


ttottrt,"  Jfcorriatoton,  X.  JJ. 

Messrs.  CARRERE  fif  HASTINGS,  Architects 


f^-  T"Fr  "TT  *"  f '  ^  ^  Tr"  ~Vj  t^'f  ^  T  ^  "T^\ 
•*  *r  =?"r  ^--t-  4^*-*»»-  -f  •»  'f-  »--*•  «r  ^••+-  4*  4-n:  i-  ij 
v----^-" 38; 


-« 


in 


TT 


PLATE  LXXXVI.      i    The  Court  a 
PLATE  LXXXVI.     2    The    South    Side    of  the 

Court  b 

PLATE  LXXXVII.      i    The  Fountain  Basin  c 
PLATE  LXXXVII.     2   The   West    End  of  the 

Pergola  d 

3  <£atfrcn  at  ^nnapolt's,  jtttr. 

PLATE  LXXXVIII.      i    The  Grape  Arbor 
PLATE  LXXXVIII.     2    An  Overgrown  Corner 

<M  (gatfren  at  SctmatfistiiUr,  y.j). 

Mr.  DANIEL  W.  LANGTON,  Architect 


,  .  .  a  ^  ^ 

•  -  ;-a^J> 

""-:"J?""  *""*-"•-':-•'-. ",-x^^^  • 


•-"V 


PLAT  ta   L/-XAIA.  AND  XC. 


PLATE   LXXXIX.      General  View  of  the  Garden  a 

PLATE  XC.      i    The  Basin  b 

PLATE  XC.      2    On  the  Middle  Terrace  c 


3Ttoo  (ftolontal  Cffattrtn 

PLATE   XCI.      I    "The    Old    Sanford    Garden," 

Nantucket,  Mass. 
PLATE   XCI.      2    A  Garden  at  Portsmouth,  N.  H. 


"fWastlantrs,"  Gtominty,  TX.  &. 


^SSliE  ^ffi^MS 


._.dlfine^ajira!$sL- 


•;^  :;'¥ -H  £p*rq  .'W  ".SM-srsrsa  'i"s?4  S 

?L ••/.    •M*t*u&..*t\J&*x-£jC£  6«Mi-u— "i»i3'_*iic-a;(i  ^ 

^«--"--;':M Pf^a?"'  ""r^  r-'T'^-ifp^'v.^ 

•JifflBaill  L^2£l  ur> ^awas  L^J^  ub*£2  M 


c^-car^^-vc-a--^' 


fl 


^> 


PLATE  XCII.      i    The  South  Side  of  the  Garden  b 
PLATE  XCII.      2    The  Centre  of  the  Garden  a 


"  ©pijtc  jFarnt,"  purcljast,  K.  ¥. 

Messrs.  F.  L.  OLMSTED  ©  COMPANY,  Architects 


s   r^  i-iUt       'r  "•  %;L.ZV^I       .  ;.  .    -^  ..  ^  . 

•  .         *S  JV*I      gg^^^^^^^^'^'-^'-'--^''^^"-^; 


PLATE  XCIV.      General  View  of  the  Garden  a 


SWassacljusetts  antt  a 


PLATE   XCV.      i    A   Garden    at    Beverly,   Mass. 

The  Fountain 
PLATE   XCV.      2    "  Sevenoaks,"      Upsal,     Penn. 

[Mr.    Frank    Miles    Day, 

Architect.]       The    Square 

Garden 


^ousr,"  Nttopoct,  M. 


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..•;"  .;  ^_'    -.'^i 


PLATE  XCI II.      i    The   Garden   from   the  Ter- 
race a 
PLATE  XCIII.      ^    The  Terrace  b 


Mr.  NATHAN  BARRETT,  Architect 


PLATE   XCVI.      I    The   Garden    from    the    Ter- 
race i? 
PLATE   XCVI.      2    Along  the  Terrace  b 


<£ourt,"  BtrnarftfltiUlr,  'N. 


Messrs.  CARRERE  &  HASTINGS,  Architects 


PLATE  XCVII.     The  Lower  Garden  a 

PLATE  XCVIII.      i    The  Upper  Garden  looking 

toward  the  Veranda  b 
PLATE  XCVIII.     2    The  Upper  Garden  from  the 

Veranda  c 


l,  $cnn. 

Mr.  WILSON   EYRE,  Jr.,  Architect 


1 


antr 


PLATE  C.      Looking  down  the  Centre  Path  a 

PLATE  CI.      i    The  Cross  Path  b 

PLATE  CI.      2    Across   the    Lower    End    of  the 

Garden  c 

PLATE  CI.     3    A  Corner  Garden  House  d 
PLATE  CI.     4    Across    the    Upper    End    of    the 

Garden  e 


£too  JJr nnsPluam a  (Sarttrns 

PLATE  CII.      i    "  Pembroke,"  Bryn  Mawr,  Penn. 

The  Garden  Entrance. 
PLATE  CII.      2    "  The     Grange,"      Overbrook, 

Penn.     A   Sheltered   Corner 


GfarUrn  at  .Salem,  fttass. 


PLATE  XCIX.  i  The  Summer-house 

PLATE  XCIX.  2  A  Garden  Shelter  b 

PLATE  XCIX.  3  Box-hedged  Beds  c 

PLATE  XCIX.  4  A  Winding  Path  </ 


PLATE   CIII.      I    Box-edged  Beds  a 

PLATE  CIII.     2    A  Corner  by  the  Slave  Quarters  b 

PLATE  CIV.  i  The  West  Corner  of  the  Gar- 
den e 

PLATE  CIV.  2  The  Long  Path  from  the  School- 
house/" 


PLATE  CV.      I    Hollyhocks  c 
PLATE  CV.      2    The  Rose  Garden  d 


,"  UrooftUnr, 

Mr.  CHARLES  A.  PLATT,  Architect 


PLATE  CVI.     The  Garden  from  the  Casino  a 


PLATE  CVII.      i    A  Bird's-eye  View  o 

PLATE  CVII.     2    Across  the  Garden  p 

PLATE  CVIII.      i    End  of  the  Casino  Pergola  e 

PLATE  CVIII.      2    The  Pool/ 

PLATE  CIX.      i    Entrance  to  the  Terraces  k 

PLATE  CIX.     2    Steps  to  the  Casino  / 

PLATE  CIX.     3    Side  Walk,  looking  toward  the 

Pergola  m 

PLATE  CIX.     4    Side    Walk,   looking    from    the 

Pergola  « 

PLATE  CX.      i    A  Corner  of  the  Upper  Terrace  g 

PLATE  CX.      2    End  of  the  Casino  Pergola  h 

PLATE  CX.     3    Steps  to  the  Upper  Terrace  / 

PLATE  CX.     4    The  Terrace  Wall  j 

PLATE  CXI.      i    The  Upper  Terrace  c 

PLATE  CXI.     2    A  Corner  of  the  Garden  d 

PLATE  CXII.     The  Casino  b 


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